Even something as simple as note duration is used to great effect.
Miney moey moneymoney song how to#
Returning to that bass part, Rutger Gunnarson’s performance shouldn’t be overlooked either, because it’s a masterclass in how to support a song’s arrangement via the instrument’s expressive possibilities.
Thus one of the most threadbare modulation clichés in existence is made to sound far less contrived than it has any right to. What’s so inspired about the latter is that it makes sense of the F7 chord’s E-flat (a note which rarely features much in A-minor), thereby preparing the ground for a strong V-I cadence into the B-flat-minor key-change at 2:28. The first is the cadence’s nice sharpened-fifth dominant chord, a flavour unjustly overlooked in a lot of music these days while the second is the falling chromatic line from E to D during the first three chords. Although the outline of its harmonic progression is simple (basically I-VI-IV-V-I), a couple of little details make all the difference. No less impressive is the piano link that opens the song. Plus, the eventual resynchronisation of the stress patterns on the last beat before the chorus boosts this upbeat’s subjective importance enormously - supported by that amusingly theatrical drum ‘boosh’, of course! Although this is clearly designed to wrong-foot the listener to some degree, it remains fairly easy to digest (and remember as a hook!) because of the internal repetition. Take the chorus lead-in at 0:42, which creates a strong rhythmic tension by repeating its seven-beat melodic phrase such that the stress patterns of the second iteration are out of sync with the underlying 4/4 metre. The links between sections are masterful too. Not only does it contribute to one of the song’s signature hooks by boldly doubling the first half of the chorus vocal melody, but it also sprinkles the song with diverting ear candy - for example, the fill before “ain’t it sad” at 1:28 and the longer counter-melody under “aah… all the things I could do” at 2:12-2:18. This is one of my all-time favourite arrangements - there’s just so much to enjoy here! The part that probably stands out most for me is the bass.
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